mUltimate Chopin

Op. 64 No 3, Waltz in A♭ major

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b. 107-108

composition: Op. 64 No 3, Waltz in A♭ major

 in A

 in FE (→EE)

No sign in GE
..

The moment of the beginning of the  sign in A is unclear. We assume the top arm, written first, to be reliable. In FE (→EE) the sign starts from the beginning of the bar, which may be considered an alternative interpretation of A, however, the fact of shortening the sign is a patent inaccuracy of the engraver. The missing hairpin in GE is probably an oversight or a proof of the fact that the sign was added only in the last proofreading of FE.

category imprint: Graphic ambiguousness; Differences between sources

issues: Inaccuracies in FE , Scope of dynamic hairpins , Errors in GE

b. 109

composition: Op. 64 No 3, Waltz in A♭ major

No indication in A & GE

in FE (→EE)
..

The sostenuto indication was added – certainly by Chopin – in the proofreading of FE (→EE). The lack of the indication in GE suggests that it was the last proofreading, not included in GE.

category imprint: Differences between sources

issues: Authentic corrections of FE

b. 109-110

composition: Op. 64 No 3, Waltz in A♭ major

e1 not tied in A & GE1Ab

e1 tied in FE (→EE,GE1op→GE2op→GE3op) & GE2Ab
..

According to us, both here and in bars 125-126, the absence of a tie sustaining e1 is an oversight of Chopin. The composer actually wrote out both pairs of bars in A, yet probably only due to the accent on e1, which is absent in bar 1. In any case, a tie added in a proofreading of FE clearly proves Chopin's final intention.

category imprint: Interpretations within context; Differences between sources

issues: Errors of A , Authentic corrections of FE

b. 110-111

composition: Op. 64 No 3, Waltz in A♭ major

 in A, literal reading

 up to f2 in FE

 1 bar in GE1op, GE1Ab (→GE2Ab) & EE

No sign in GE2op (→GE3op)
..

According to us, the notation of A clearly suggests a continuation of the  hairpin in bar 111, which was not written out, in accordance with a sign corresponding it in bar 3. In the editions, however, it was only the sign in bar 110 that was more or less accurately reproduced. 

category imprint: Interpretations within context; Differences between sources

issues: Scope of dynamic hairpins , Errors in GE , EE inaccuracies

b. 111-123

composition: Op. 64 No 3, Waltz in A♭ major

..

In A the bars are written in an abbreviated manner in the form of numbered bars, corresponding to bars 3-15, which are supposed to be repeated here.

category imprint: Source & stylistic information

issues: Abbreviated notation of A